"We shot on location in our very first weeks, in our very first shows. I would like to go on location again, Hawaii would be good!! But normally, we tape five days a week in the studio starting at about 8:00 a.m. and continuing until about 8:00 p.m"
About this Quote
There is a quiet sleight of hand in Juliet Mills's behind-the-scenes candor: she makes the grind sound like both privilege and punishment, then punctures it with a postcard-sized daydream. "Hawaii would be good!!" lands like a wink to the audience, a performer briefly stepping out of the professional script to admit what everyone wants - a change of scenery, a little glamour, a break from the conveyor belt.
The real reveal is the schedule. Five days a week, 8 a.m. to 8 p.m., is less "showbiz magic" than factory cadence. Mills isn't romanticizing acting; she's translating it into hours, repetition, and stamina. That choice signals intent: to correct the popular fantasy that television performers float through witty dialogue and applause. The studio, in her telling, is an efficient machine that runs long and loud, and the actor's job is to be reliably excellent inside it.
Context matters: she contrasts early-location shoots with the settled rhythm of series production, where budgets, time, and control push you indoors. Location becomes shorthand for creative freshness and status - something you "get to" do, not something the system is built around. The double exclamation points are doing work, too: they soften the complaint, keep it light, keep it employable. Subtext: I love this job, but don't confuse love with ease. The fantasy is Hawaii; the reality is fluorescent lights and twelve-hour days.
The real reveal is the schedule. Five days a week, 8 a.m. to 8 p.m., is less "showbiz magic" than factory cadence. Mills isn't romanticizing acting; she's translating it into hours, repetition, and stamina. That choice signals intent: to correct the popular fantasy that television performers float through witty dialogue and applause. The studio, in her telling, is an efficient machine that runs long and loud, and the actor's job is to be reliably excellent inside it.
Context matters: she contrasts early-location shoots with the settled rhythm of series production, where budgets, time, and control push you indoors. Location becomes shorthand for creative freshness and status - something you "get to" do, not something the system is built around. The double exclamation points are doing work, too: they soften the complaint, keep it light, keep it employable. Subtext: I love this job, but don't confuse love with ease. The fantasy is Hawaii; the reality is fluorescent lights and twelve-hour days.
Quote Details
| Topic | Work |
|---|---|
| Source | Help us find the source |
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